A Cinnabar lacquer 'Eighteen Luohan' ruyi sceptre Qing Dynasty, Qianlong Period

the long gracefully curving sceptre terminating in a formal lingzhi head carved with a luohan holding a fly whisk while riding on a mythical beast, with an attendant presenting him a 'flaming pearl', connected to an arched shaft set with a shou character at the top, the front finely carved with the 'Eighteen Luohan' each holding their respective attributes all reserved on a diaper ground, the reverse decorated with an array of flying bats reserved against a dense swirling cloud ground, the end of the shaft tied with a silk tassel, (fitted box)

Japanese Collection, 1999.
Eskenazi, Ltd., London.
J.J. Lally and Co., New York, 2001.

The head has been separated from the shaft at the joint and restuck and there is a restored break about 2 cm below the head at the top of the shaft. There are a couple of minor chips along the edge, but the overall condition is quite good.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The sceptre itself and the carved motif on this piece are rich in auspicious symbolism. Ruyi sceptre is a talisman presented to bestow good fortune. The origins of the sceptre are associated with Buddhism and it is thought to have developed from back-scratchers used by monks and holy figures during pre-Tang (618-907) times. With the temporary decline of Buddhism, it was later adapted by Daoists who introduced the heart-shaped head rendered as a lingzhi or longevity fungus. Sceptres gradually lost their original practical purpose, and came to take any form deemed suitable to express well-wishing. It was Qianlong's father, the Yongzheng Emperor, who revived the auspicious tradition of the ruyi , which literally means 'as you wish'. Sceptres became an imperial object and were presented to the Emperor or members of the Imperial family and high officials as auspicious gifts on occasions such as birthdays and promotions.

The present sceptre is skilfully carved in high relief with particular attention paid to the smallest details making each luohan immediately recognizable. Such complex decoration of figures on sceptres are rare. For examples of cinnabar lacquer carved sceptres see one, from the Palace Museum, Beijing, illustrated in Gugong Bowuyuan cang diao qi, Beijing, 1985, pls. 387 and 388; and one in the Museum fur Kunsthandwerk, Frankfurt am Main, published in Gunhild Gabbert, Ostasiatische Lackkunst, Frankfurt am Main, 1978, pl. 8. See also a sceptre sold in our New York rooms, 30th March 2006, lot 106; and another sold in our London rooms, 12th November 2003, lot 188.  
    
The number and opulence of ruyi sceptres increased during the Qianlong period, when the emperor officially ordered court officials and courtiers to present sceptres at imperial birthdays and New Year celebrations. Sceptres were made in all types of mediums with their design left to the artists' imagination. See ten sceptres included in the exhibition China. The Three Emperors, the Royal Academy of Arts, London, 2006, cat. nos. 273-282, which represent the variety of imperial sceptres from the Qing Court collection and presently in the Palace Museum, Beijing.